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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich: Rob, if we were out shooting. Robbie: Uh-huh. Rich: I have my D7000 here. Robbie: Uh-hum. Rich: You've got a Canon 7D. Robbie: Yep. Rich: We put the exact same quality of lens on. We set the aperture to the exact same setting. We're going to still have different exposures, aren't we? Robbie: We are, unfortunately. You'd think with the same glass and, you know, the same F-Stop and all that kind of stuff you'd have perfectly matching exposures. That's just not the case. Depending on what camera body you're using, depending on the crop factor of that camera body, given all the same settings, you're still going to get potentially different exposures.
Now it's not going to be something like night and day, but it could differ just a little bit. It's something to be aware of. Rich: Yeah, what's going to happen here is, I have got a crop factor of 1.5. You have, I believe, 1.6 on the Cannon body there. If we were shooting with a full body lens. Maybe I pulled out my D600 or you brought out your 6D. In that case, those are full frame sensors, and they're going to be more sensitive to light. And so what really happens here, is I think a lot of people struggle. We've talked about exposure in the past. Robbie: Yeah. Rich: But the issue here is that you're trying to balance out.
Well, what's my depth of field? And so you open up that aperture. Maybe something into the four range because you want to have you know, something that. Robbie: You want something soft in the background but maybe not totally blurry. Rich: Yeah. Trust me there's really no reason to be a shooting in the ones or even the twos. Robbie: Oh it's, it's just kind of, especially outside like you know, we've done out in the field. it's, it's impossible. Rich: Yeah. Robbie: I mean you need you know, five levels of nd and you know, you're focusing on you know, the tip of somebody's nose. Very, very difficult. And Rich, the other thing I would say about exposure in terms of sensor size is that it's one of those things that you kind of have to be a little over prepared.
And what I mean by that is if you're working on a shoot with a lot of different cameras, you know different crop factors and that kind of stuff, bring multiple ND filters and strengths of ND filters because, you might need to be able to adjust for those exposure differences because of the sensor size and using ND filter is one way you can do that. Rich: All right, well, we've talked about a lot of gear. We've talked about the cameras. I think it's time we take people out in the field and we explore how all of these things come together. So, let's jump out. We're going to head out to a music video shoot. And we're going to take the different types of technology you see here.
The mattebox, the ND filter, the variable ND filter, and we're going to go into a bunch of different outdoor shooting situations and show you how all this equipment can be used to get proper exposure, while maintaining the depth of field control that we desire.
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